Weight Watchers is here at every point
Martina Magorin's new film for Weight Watchers is about finding your way back to yourself.
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Weight Watchers and director Martina Magorin of Golden LA have teamed up for Here At Every Point, a film that sidesteps the typical weight loss playbook in favour of something more honest, more human, and harder to forget.
At the heart of the campaign is a full-of-life woman who, somewhere between work and motherhood, misplaced a little bit of her old self. The film opens with her pulling out a pair of beloved jeans she hasn't worn in years, and a Polaroid that takes her straight back to who she used to be. What follows is a time-shifting journey through the false starts, small wins, and early-morning weigh-ins of her weight loss story, one that speaks directly to the GLP-1 moment, positioning Weight Watchers as the connective tissue between nutrition, coaching, medication, and community support. Offering what no injection can: accountability, connection, and a plan that actually sticks.
"What I responded to most in Anomaly's script was that it never felt like a story about weight loss," said director Magorin. "It felt like a story about finding your way back to the essential version of yourself. A lot of people know that feeling of disconnection you get when you don't feel comfortable in your body, you keep your jacket on indoors, you avoid the camera, you spend too much time analysing a photo of yourself instead of enjoying the memory it captured. For me, the film is about finding your way back to the version of you that just leaves the house, says yes, and doesn't spend time overthinking. That's a universal story."
Credits
View on- Agency Anomaly/New York
- Production Company Golden LA
- Director Martina Magorin
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Credits
View on- Agency Anomaly/New York
- Production Company Golden LA
- Director Martina Magorin
- Editing Cosmo Street/Los Angeles
- Post Production Golden LA
- Color Modern Post
- Sound Mr Bronx Audio Post/New York
- Executive Creative Director Melatan Riden
- Creative Director Katy Moseley
- Associate Creative Director Josh Clayton
- Associate Creative Director Mollie Coyne
- Executive Producer Jenny Read
- Managing Director Matthew Marquis
- Executive Producer Dahlia Stone
- HP Kevin Gallagher
- Producer Rick Brown
- Production Designer Rene Navarrette
- DP Sean Conaty
- Editor Marlo Caine
- Senior Producer Amanda Slamin
- Executive Producer Karen Hennegan
- Producer Kevin Gallagher
- Animation Jonathan Nee
- Colorist Myles Bevan
- Producer Brian Corey
- Executive Producer Zachery Fortin
- Producer Sarah Weck
- Audio Mixer Michael Artuso
- Talent Lydia Cymone
Explore full credits, grab hi-res stills and more on shots Vault
Credits
powered by- Agency Anomaly/New York
- Production Company Golden LA
- Director Martina Magorin
- Editing Cosmo Street/Los Angeles
- Post Production Golden LA
- Color Modern Post
- Sound Mr Bronx Audio Post/New York
- Executive Creative Director Melatan Riden
- Creative Director Katy Moseley
- Associate Creative Director Josh Clayton
- Associate Creative Director Mollie Coyne
- Executive Producer Jenny Read
- Managing Director Matthew Marquis
- Executive Producer Dahlia Stone
- HP Kevin Gallagher
- Producer Rick Brown
- Production Designer Rene Navarrette
- DP Sean Conaty
- Editor Marlo Caine
- Senior Producer Amanda Slamin
- Executive Producer Karen Hennegan
- Producer Kevin Gallagher
- Animation Jonathan Nee
- Colorist Myles Bevan
- Producer Brian Corey
- Executive Producer Zachery Fortin
- Producer Sarah Weck
- Audio Mixer Michael Artuso
- Talent Lydia Cymone
"When Anomaly reached out, Martina immediately felt there was an opportunity to tell a unique and meaningful story around the main character and her journey," said Matthew Marquis, Managing Director, Golden LA. "It was also clear that the team at Anomaly was equally invested in pursuing a film that defied the category and established its own voice and resonance."
Magorin and director of photography Sean Conaty made a deliberate choice to keep the camera close, quiet, and always in service of the story. "In commercials it's easy to chase the dramatic angle or the flashy camera move," Magorin said. "But this story is so personal that Sean and I kept reminding ourselves to stay out of the way. Most of the film lives at eye level. We leaned on simple lock-offs, gentle handheld, and performances that could carry the emotional weight."
That same thinking extended to the film's wardrobe, crafted in close collaboration with costume designer Emily Batson. "We wanted to avoid the cliché of confidence simply meaning tighter clothes," said Magorin. "Instead, we focused on how someone changes when they begin feeling more comfortable in their own skin. Early on, Natalie is often hiding a little, reaching for layers, softer shapes, clothes that help her disappear. As the story progresses, the wardrobe becomes more structured, more colourful, and more intentional. It's less about transformation and more about taking up space again."
